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Today Flog It is in Bury St Edmunds. | 0:00:02 | 0:00:04 | |
Now, I've checked the address... | 0:00:04 | 0:00:06 | |
this should be the place for today's valuations. | 0:00:06 | 0:00:09 | |
Gosh, it looks a bit too small, if you want my opinion. | 0:00:14 | 0:00:17 | |
Well, this is the Nutshell, | 0:00:51 | 0:00:53 | |
allegedly the smallest pub in the country. | 0:00:53 | 0:00:56 | |
It's cute and quaint and very tiny. | 0:00:56 | 0:01:00 | |
Not much good for valuation day, is it? | 0:01:00 | 0:01:02 | |
The most people they've ever squeezed in here is 102 plus a dog called Bob. | 0:01:02 | 0:01:08 | |
That's the record. | 0:01:08 | 0:01:10 | |
But somewhere in this town there's a massive queue | 0:01:10 | 0:01:12 | |
waiting for me and they're all wanting their antiques valued. | 0:01:12 | 0:01:16 | |
Well, this is more like it. | 0:01:24 | 0:01:26 | |
Look at this. Welcome to the Athenaeum in Bury St Edmunds, | 0:01:26 | 0:01:28 | |
and it looks like our experts, David Barby and Adam Partridge are hard at work. | 0:01:28 | 0:01:33 | |
Adam is first up and it looks as though he's found someone to share a drink with. | 0:01:34 | 0:01:39 | |
So you're Gordon and I'm Adam, | 0:01:39 | 0:01:41 | |
and is there any Gordon's gin in here? | 0:01:41 | 0:01:44 | |
-No. -There would have been at one point. | 0:01:44 | 0:01:47 | |
-I think so. -What can you tell me about this object. | 0:01:47 | 0:01:50 | |
-A real antique. -Well, it was given me by an ex-employer when she retired. | 0:01:50 | 0:01:55 | |
-OK. What were you working as? -I was working as a stud groom. | 0:01:55 | 0:01:59 | |
A stud groom. Near Newmarket? | 0:01:59 | 0:02:01 | |
On a thoroughbred stud, right. | 0:02:01 | 0:02:04 | |
Did you know it was anything or did you think, "Oh, thanks"? | 0:02:04 | 0:02:07 | |
Well, no I didn't know much about it really. | 0:02:07 | 0:02:10 | |
-Were you pleased to receive it? -I was. | 0:02:10 | 0:02:12 | |
But I was looking through an old antiques magazine | 0:02:12 | 0:02:16 | |
-and a photograph of that very one was in this magazine. -The very one. | 0:02:16 | 0:02:22 | |
So therefore I regarded it as a reform flask. | 0:02:22 | 0:02:25 | |
Sometimes these are called reform flasks, but those are generally | 0:02:25 | 0:02:29 | |
the ones that have political figures and judges and things like that, | 0:02:29 | 0:02:33 | |
but what all this is about is to fill with liquor | 0:02:33 | 0:02:37 | |
and have a secretive drink in those days when it was illicit to do so. | 0:02:37 | 0:02:43 | |
So it's the equivalent of having a brown paper bag | 0:02:43 | 0:02:46 | |
round a bottle of cheap lager nowadays, isn't it? | 0:02:46 | 0:02:49 | |
And you just have a sly swig out of what | 0:02:49 | 0:02:51 | |
-appears to be a decorative figure. -That's right, yeah. | 0:02:51 | 0:02:56 | |
So it dates from the mid-nineteenth century. | 0:02:56 | 0:02:59 | |
And we've got a maker's mark on the reverse, Oldfield & Co. | 0:02:59 | 0:03:02 | |
Not a very well-known name, Oldfield & Co. | 0:03:02 | 0:03:06 | |
-So why are you selling it then? -Cos coins are more attractive than... | 0:03:06 | 0:03:10 | |
-OK, you'd rather have the money... -Yeah. | 0:03:10 | 0:03:13 | |
-..than have that. -Yeah. -What's it worth? | 0:03:13 | 0:03:15 | |
You seem to have done a bit of research on it. | 0:03:15 | 0:03:18 | |
-It's got to be worth £100. -You're right. | 0:03:18 | 0:03:20 | |
Because on the... I've seen reform flasks | 0:03:20 | 0:03:24 | |
which perhaps are better quality than this. | 0:03:24 | 0:03:26 | |
They can go up to as much as £400. | 0:03:26 | 0:03:29 | |
Yes. Depending on the political figures and their rarity. | 0:03:29 | 0:03:32 | |
This is quite an obscure item. | 0:03:32 | 0:03:34 | |
Oldfield and Co aren't very well known about. | 0:03:34 | 0:03:36 | |
There are other examples that have come up, | 0:03:36 | 0:03:39 | |
but I think £100 is a good guesstimate, really. | 0:03:39 | 0:03:43 | |
-We could put that as a reserve, is that what you want? -Yes, please. | 0:03:43 | 0:03:46 | |
So if we put estimate of £100 - 150. | 0:03:46 | 0:03:48 | |
-Reserve of £100 and hopefully we'll find somebody with the spirit to take it on. -All right. | 0:03:48 | 0:03:55 | |
Tell me, | 0:04:00 | 0:04:02 | |
where did you get this from? | 0:04:02 | 0:04:04 | |
I used to help out in an antique shop, around 21 years ago and the owner gave it to me. | 0:04:04 | 0:04:10 | |
I decided I'd get rid of it because we don't have the space. | 0:04:10 | 0:04:14 | |
He must have thought a lot of you, because this is a delightful piece. | 0:04:14 | 0:04:18 | |
Yes, he did... and of my husband. | 0:04:18 | 0:04:20 | |
He used to help out too. | 0:04:20 | 0:04:21 | |
-Did you use this as an inkstand? -Oh, no, no. | 0:04:21 | 0:04:24 | |
-Just on the side. -Yeah, just as an ornament. | 0:04:24 | 0:04:26 | |
This is quite a nice piece. Made as a souvenir. | 0:04:26 | 0:04:29 | |
This was in the Loire area of Brittany | 0:04:29 | 0:04:33 | |
where they did a lot of pottery. And we call this pottery faience. | 0:04:33 | 0:04:37 | |
And they decorated it with scenes of a domestic life. | 0:04:37 | 0:04:43 | |
Costumes of that area of Brittany. | 0:04:43 | 0:04:46 | |
This one's quite nice because it has this wide | 0:04:46 | 0:04:49 | |
space for putting your pens and it's got these two compartments | 0:04:49 | 0:04:54 | |
there for ink and are they... | 0:04:54 | 0:04:56 | |
-Oh, yes, they are separate. -Yes. | 0:04:56 | 0:04:58 | |
Oh, that's good. That's rather nice. I like that. | 0:04:58 | 0:05:01 | |
So you could wash those out. | 0:05:01 | 0:05:03 | |
You could have one for red and one for blue, | 0:05:03 | 0:05:09 | |
-and what would you put in the top here? -Quills? | 0:05:09 | 0:05:11 | |
I think you'd put stamps. Because we're talking about | 0:05:11 | 0:05:14 | |
a period when this was made when a postal system was in operation. | 0:05:14 | 0:05:19 | |
So this one on the back says, "Henriot Quimper, France, 80." | 0:05:19 | 0:05:26 | |
-I think that may refer to the pattern number, not the year. -Yeah. | 0:05:26 | 0:05:31 | |
To have France on it would mean it would have to have been made after 1891 | 0:05:31 | 0:05:35 | |
which was when the McKinley Tarriff came into force. | 0:05:35 | 0:05:38 | |
That was American legislation that stated anything made abroad | 0:05:38 | 0:05:44 | |
had to have a place of origin on it | 0:05:44 | 0:05:46 | |
before it could be imported into America. | 0:05:46 | 0:05:49 | |
So that would date it to the end of the nineteenth century. | 0:05:49 | 0:05:52 | |
Right. Just think in terms of price on this one, have you any idea yourself? | 0:05:52 | 0:05:56 | |
-I would have thought about £50. -£50. | 0:05:56 | 0:05:59 | |
Even though it's got this damage here it's still going to command interest, | 0:05:59 | 0:06:04 | |
because people do like this. | 0:06:04 | 0:06:06 | |
It's colourful. I think you're bang on with the price. | 0:06:06 | 0:06:10 | |
I think probably about £60-£80. | 0:06:10 | 0:06:13 | |
-If you stick by the £50 reserve, I think we should achieve that. -Yes. | 0:06:13 | 0:06:19 | |
-So you're happy to go ahead. -Quite happy with that. | 0:06:19 | 0:06:21 | |
I'm longing to ask you. What are you going to do with that money? | 0:06:21 | 0:06:25 | |
Go for a day's racing, I think. | 0:06:25 | 0:06:27 | |
-You like the gee-gees. -Yes. -Right. | 0:06:27 | 0:06:30 | |
-Let's hope we make enough money there to put on a gee-gee. -Yeah. | 0:06:30 | 0:06:33 | |
Harry, this is fantastic. | 0:06:40 | 0:06:42 | |
It's one of the best things I've seen for a long, long time. | 0:06:42 | 0:06:46 | |
I want to know how long you've had this and where it's come from. | 0:06:46 | 0:06:49 | |
Well, it's been in my bungalow, recently. But I've had it 58 years. | 0:06:49 | 0:06:54 | |
58 years, OK. | 0:06:54 | 0:06:56 | |
And before that, that was my grandfather's. | 0:06:56 | 0:06:59 | |
-Can you remember this as a young lad? -Yes. | 0:06:59 | 0:07:03 | |
And you must have thought, "Tell me all about this. | 0:07:03 | 0:07:06 | |
-"Can I have a look?" Don't you think it's amazing? -I do. | 0:07:06 | 0:07:09 | |
-It must have taken hours... -I haven't seen nothing like it before. | 0:07:09 | 0:07:13 | |
..to do. It's absolutely brilliant. | 0:07:13 | 0:07:16 | |
This is definitely late Victorian, round about 1880, 1890. | 0:07:16 | 0:07:20 | |
Look at the work that's gone into it. | 0:07:20 | 0:07:23 | |
Lots and lots of seashells, cowries, conches, | 0:07:23 | 0:07:28 | |
bivalves, hundreds of them that have made the tiling on the roof. | 0:07:28 | 0:07:31 | |
-Yes. -You look at the veranda and it's absolutely full of sand. | 0:07:31 | 0:07:36 | |
Little particles that have been glued on everywhere. | 0:07:36 | 0:07:39 | |
-Yeah. -You've got sea sponge. | 0:07:39 | 0:07:41 | |
-It's completely out of scale, isn't it? -It is. | 0:07:41 | 0:07:44 | |
There's some big chickens down there, which are bigger than the little people. | 0:07:44 | 0:07:49 | |
Yes! | 0:07:49 | 0:07:51 | |
And it's in its original glass case, which is leaded at the side. | 0:07:51 | 0:07:54 | |
I can see you've Sellotaped it all together. | 0:07:54 | 0:07:59 | |
Yeah. Some air came in there and the other side | 0:07:59 | 0:08:02 | |
and the rest has deteriorated, as the shells are coming off of it. | 0:08:02 | 0:08:05 | |
Yes. It's starting to deteriorate. | 0:08:05 | 0:08:07 | |
The case needs looking at. | 0:08:07 | 0:08:09 | |
Do you know, I just noticed. | 0:08:09 | 0:08:10 | |
I just noticed in the window they've got little net curtains. | 0:08:10 | 0:08:13 | |
Yes. | 0:08:13 | 0:08:16 | |
It's brilliant. The turrets, as well. Do you know, I love this. | 0:08:16 | 0:08:23 | |
What do you think of the value? | 0:08:23 | 0:08:24 | |
Come on, how much? | 0:08:24 | 0:08:25 | |
-Two to three hundred. -Has someone told you that? | 0:08:25 | 0:08:29 | |
-No, no. Nobody told me. -Well, you're spot on. | 0:08:29 | 0:08:33 | |
Spot on. I'd like to put it to auction with a value of two to three hundred. | 0:08:33 | 0:08:38 | |
Why do you want to sell it? | 0:08:38 | 0:08:39 | |
Well, as I say, I'm in a bungalow that's deteriorating | 0:08:39 | 0:08:43 | |
and someone else might have the pleasure of looking after it. | 0:08:43 | 0:08:47 | |
-Won't you be sad? -No. | 0:08:47 | 0:08:50 | |
Well, I think this is going to find a home with a collector. | 0:08:50 | 0:08:54 | |
It could go in a museum of curios, that's for sure. | 0:08:54 | 0:08:57 | |
Yes. I'd rather see it like that than deteriorating and break right up. | 0:08:57 | 0:09:02 | |
-It's a little villa to die for. -That's right. | 0:09:02 | 0:09:05 | |
-We'll put it in at two to three and hopefully, fingers crossed. -It'll go up. | 0:09:05 | 0:09:10 | |
Yes, right. You know the spiel. | 0:09:10 | 0:09:12 | |
Yes, I know. | 0:09:12 | 0:09:14 | |
-Good morning, Stephanie. -Morning. | 0:09:20 | 0:09:22 | |
Very nice pair of vases. Where did you get these from? | 0:09:22 | 0:09:25 | |
I got them from my mother-in-law | 0:09:25 | 0:09:28 | |
who inherited them from my husband's grandmother. | 0:09:28 | 0:09:32 | |
So they've passed down the family. | 0:09:32 | 0:09:34 | |
-Yes. -How long do you reckon you can trace them back for. | 0:09:34 | 0:09:37 | |
Possibly 80 - 90 years. | 0:09:37 | 0:09:40 | |
-Interesting. -And then I took them because I really liked them. | 0:09:40 | 0:09:43 | |
Had them in my house for a while. | 0:09:43 | 0:09:45 | |
Nearly lost one of them. | 0:09:45 | 0:09:47 | |
How was that? | 0:09:47 | 0:09:49 | |
We were having a barbecue and a bird flew in the house. | 0:09:49 | 0:09:51 | |
My brother chased it, and as he chased it, it knocked one | 0:09:51 | 0:09:55 | |
of the vases and he caught the vase and the bird flew out the window. | 0:09:55 | 0:09:59 | |
-Really? -Still only one. | 0:09:59 | 0:10:00 | |
-Flying catch. -Yes, yes. | 0:10:00 | 0:10:02 | |
You liked them because you've had them on display. | 0:10:02 | 0:10:04 | |
-And then I went off them. -Why? | 0:10:04 | 0:10:06 | |
-I don't know really. -Right. OK. | 0:10:06 | 0:10:08 | |
Well, they're quite easy to date and to describe | 0:10:08 | 0:10:12 | |
because on the bottom they've got the mark there, | 0:10:12 | 0:10:16 | |
which is W&R, Stoke-on-Trent and Florida. | 0:10:16 | 0:10:20 | |
-Yeah. -So, this W&R | 0:10:20 | 0:10:22 | |
stands for Wiltshaw and Robinson. | 0:10:22 | 0:10:24 | |
-You may not have heard of them. -I haven't. | 0:10:24 | 0:10:26 | |
-But you will have heard of Carlton Ware. -Yes, I have. | 0:10:26 | 0:10:30 | |
Later, these became Carlton Ware. | 0:10:30 | 0:10:32 | |
This is the first mark of Wiltshaw and Robinson when they opened in 1890. | 0:10:32 | 0:10:36 | |
So these are one of the first things that came out of that factory in Stoke-on-Trent. | 0:10:36 | 0:10:40 | |
-OK. -Florida is just the name of the pattern. -Oh, is it? Oh, right, OK. | 0:10:40 | 0:10:44 | |
Yes. They've never been to Florida. | 0:10:44 | 0:10:46 | |
I was going to say, it doesn't resemble a Florida I would put on. | 0:10:46 | 0:10:50 | |
No, it's not the thing you immediately think, "Oh, look, Florida." | 0:10:50 | 0:10:54 | |
It's just making them sound a bit more exotic than they really are. | 0:10:54 | 0:10:58 | |
It doesn't do it for me, I'm afraid. | 0:10:58 | 0:11:01 | |
-This style was very much done at the end of the 19th century. -Yes. | 0:11:01 | 0:11:04 | |
Royal Worcester, one of the best factories, they did a lot of this | 0:11:04 | 0:11:07 | |
cream background, known as the blush ivory ground with flowers on the top and gilding, | 0:11:07 | 0:11:13 | |
-so this was more affordable Royal Worcester. -Yeah. | 0:11:13 | 0:11:17 | |
-It's more a printed design, so they're not very valuable. -Oh, OK. | 0:11:17 | 0:11:21 | |
-You want to sell them, don't you? -I do, because they're not me. | 0:11:21 | 0:11:25 | |
We haven't got a lot of room to keep stuff that I don't like so. | 0:11:25 | 0:11:28 | |
-No, they're no good in the loft, are they? -No, not really. | 0:11:28 | 0:11:32 | |
So value-wise, any idea? | 0:11:32 | 0:11:34 | |
-A fiver, then I won't be disappointed. -Stick a nought on it. | 0:11:34 | 0:11:37 | |
About £50? Oh, that's not bad. | 0:11:37 | 0:11:40 | |
£50. Something like that. £50-80 estimate, | 0:11:40 | 0:11:43 | |
-reserve of £40 so they don't go for less. -No, that's fine. | 0:11:43 | 0:11:45 | |
And let's see what happens with them. | 0:11:45 | 0:11:48 | |
-OK. -I'm not going to ask what you'll do with the money, | 0:11:48 | 0:11:51 | |
because they'll just cover your travel expenses. | 0:11:51 | 0:11:54 | |
-Yes, petrol. -But I look forward to seeing you at the auction. -Thank you. | 0:11:54 | 0:11:57 | |
Now we're ready with our first four items to go under the hammer. | 0:11:59 | 0:12:03 | |
And I hope Gordon's spirit flask makes him some money. | 0:12:03 | 0:12:07 | |
He knows his stuff and he's looking for at least £100. | 0:12:07 | 0:12:09 | |
the French inkstand looks like a real bargain at £60 to £80. | 0:12:09 | 0:12:15 | |
Fingers crossed the bidders think so too. | 0:12:15 | 0:12:17 | |
I love this shell house. | 0:12:17 | 0:12:19 | |
It's one of the quirkiest things we've seen on Flog It! | 0:12:19 | 0:12:22 | |
Trust the Victorians to produce something so curious. | 0:12:22 | 0:12:26 | |
And it's time for Stephanie to sell her vases. | 0:12:26 | 0:12:28 | |
They've been in the loft where no-one can appreciate them. | 0:12:28 | 0:12:31 | |
We've left Bury St Edmunds and travelled to the pretty market town of Diss, in Norfolk, | 0:12:34 | 0:12:39 | |
where we plan to flog all our items at TW Gaze auction rooms | 0:12:39 | 0:12:42 | |
and the sale room is that side of the water, | 0:12:42 | 0:12:45 | |
so let's get over there and find out what's happening. | 0:12:45 | 0:12:48 | |
Today's chief auctioneer is the lovely Elizabeth Talbot | 0:12:51 | 0:12:55 | |
and it looks like Harry's shell house has caught her eye too. | 0:12:55 | 0:12:59 | |
-What a lovely Victorian... -It is fantastic. | 0:12:59 | 0:13:02 | |
A real Victorian folly and so rare these days. | 0:13:02 | 0:13:06 | |
The Victorians loved shells and they employed them | 0:13:06 | 0:13:09 | |
in all sorts of ornamentation, as you well know. | 0:13:09 | 0:13:12 | |
And that's all very well except that as a material they're very fragile | 0:13:12 | 0:13:16 | |
and delicate and also they have been around as objects | 0:13:16 | 0:13:20 | |
long enough for them to go in and out of fashion so a lot have been thrown away. | 0:13:20 | 0:13:23 | |
But to find such a large example and such one... | 0:13:23 | 0:13:26 | |
it's not just a cottage, it's a very intricate design. | 0:13:26 | 0:13:29 | |
-Yes, it's beautiful. A lot of time, a lot of energy and patience. -Yes. | 0:13:29 | 0:13:33 | |
have been put into that, so very labour intense. | 0:13:33 | 0:13:36 | |
It's been in his family three generations. | 0:13:36 | 0:13:38 | |
-Has it, really? Has it really? -This kind of kit really doesn't come to the market too often. | 0:13:38 | 0:13:43 | |
No, it doesn't. Certainly, as I say, not as lavish and extraordinary. | 0:13:43 | 0:13:47 | |
I love the fencing on the outside and the gate post. | 0:13:47 | 0:13:50 | |
With coral and seaweed. It's got everything going for it. I put £200-300 on it. | 0:13:50 | 0:13:55 | |
I think that's very, very fair. Very, very fair. I think... | 0:13:55 | 0:14:00 | |
and it's in its original case, it's a joy. | 0:14:00 | 0:14:03 | |
And it is definitely a piece to go to somebody who loves it | 0:14:03 | 0:14:06 | |
and understands it and there are some very keen collectors again, | 0:14:06 | 0:14:10 | |
for Victoriana and shell products, but this is exceptional. I think it's lovely. | 0:14:10 | 0:14:15 | |
So thank you for bringing it cos I'm excited. | 0:14:15 | 0:14:19 | |
The spirit flask with £100-150 on belongs to Gordon and I don't think for much longer. | 0:14:26 | 0:14:32 | |
It's a proper antique, isn't it? | 0:14:32 | 0:14:34 | |
Don't see many of them and it's immaculate... | 0:14:34 | 0:14:37 | |
-It's condition is immaculate. -It is, yeah. | 0:14:37 | 0:14:39 | |
Why do you want to sell this, anyway? | 0:14:39 | 0:14:42 | |
Nobody else in my family are interested. | 0:14:42 | 0:14:45 | |
-Or doesn't understand about it. -No. | 0:14:45 | 0:14:47 | |
-Proper antique. -Spirit flask. | 0:14:47 | 0:14:49 | |
-Do you drink spirits, Gordon? -I do. | 0:14:49 | 0:14:51 | |
Straight from the bottle, not from the flask. | 0:14:51 | 0:14:53 | |
I wouldn't say that. | 0:14:53 | 0:14:55 | |
What are you implying? | 0:14:55 | 0:14:57 | |
Totally medicinal, you know? | 0:14:57 | 0:15:01 | |
What's your tipple of choice? | 0:15:01 | 0:15:02 | |
-Pardon? -What's your chosen tipple. | 0:15:02 | 0:15:04 | |
-Drop of scotch. -Drop of scotch. | 0:15:04 | 0:15:06 | |
Anyway, chaps, it's quality and it's in immaculate condition. | 0:15:06 | 0:15:10 | |
-Good luck. -Salt glaze reform flask. | 0:15:10 | 0:15:13 | |
Square depicting old Tom sitting precariously on his barrel there. | 0:15:13 | 0:15:17 | |
I start here at £55. £55 is bid at 55 now. | 0:15:17 | 0:15:23 | |
55 now, where's 60? | 0:15:23 | 0:15:26 | |
-60, 5, 70, 5, 80, 5. -That's better. | 0:15:26 | 0:15:31 | |
90, 5, 95 with me at 95, | 0:15:31 | 0:15:35 | |
now I'll take 100, 100 is bid, 110, 120, 130, 140, 150. | 0:15:35 | 0:15:41 | |
At £150, are you all done at 150? | 0:15:41 | 0:15:47 | |
That hammer's gone down. We like that sound. | 0:15:48 | 0:15:50 | |
Good solid sold sound. 150, Gordon. | 0:15:50 | 0:15:53 | |
-Top end of the estimate. -Yeah. -Perfect. | 0:15:53 | 0:15:56 | |
What are you going to do with 150 quid. There is a bit of commission to pay. | 0:15:56 | 0:16:00 | |
-I'm going to count it. -You're going to count it... | 0:16:00 | 0:16:03 | |
make sure it's all there. | 0:16:03 | 0:16:04 | |
Next up, we've got the ink stand at £60-80 and it's good to see you again, Liz. | 0:16:09 | 0:16:14 | |
-Who have you brought? -My mother, Margaret. | 0:16:14 | 0:16:17 | |
Hello, pleased to meet you. Classic inkstand. | 0:16:17 | 0:16:19 | |
Typical French. | 0:16:19 | 0:16:21 | |
Good, decorative item. | 0:16:21 | 0:16:23 | |
It is. And that type of pottery has been going on almost for two centuries. | 0:16:23 | 0:16:27 | |
This one's probably turn of the last century. | 0:16:27 | 0:16:29 | |
Why do you want sell this, anyway? | 0:16:29 | 0:16:31 | |
-Basically, I haven't got the room and I've got four cats diving about the house. -Are you a cat lover? | 0:16:31 | 0:16:37 | |
My daughter is, anyhow. | 0:16:37 | 0:16:39 | |
-Yeah, oh, yeah. -Well, look good luck. | 0:16:39 | 0:16:44 | |
Let's hope we get top end of the money. | 0:16:44 | 0:16:46 | |
Quimper monochrome triple inkstand there. | 0:16:46 | 0:16:49 | |
Comprehensive inkwell. Start me at 50. | 0:16:49 | 0:16:54 | |
£50 there. £30 I'll take. | 0:16:54 | 0:16:57 | |
You've all gone quiet. Come on. | 0:16:57 | 0:16:59 | |
£30... a lot for the money there at £30, anybody want it? | 0:16:59 | 0:17:02 | |
-20 the hand only. Starting at 20, 22, 25, -Right, now we're in. | 0:17:02 | 0:17:07 | |
28, 30, 2, 35, 38, | 0:17:07 | 0:17:10 | |
38 40 - new bidder, 40 bid now, where's 2? | 0:17:10 | 0:17:14 | |
-At £40 only. -Come on. | 0:17:14 | 0:17:16 | |
£40 is a good piece for only £40. | 0:17:16 | 0:17:19 | |
Are you all done? | 0:17:19 | 0:17:21 | |
Didn't sell. | 0:17:21 | 0:17:22 | |
-Didn't sell. -We taped it in with the reserve which is the best thing | 0:17:22 | 0:17:26 | |
we could have done because there was no interest here. | 0:17:26 | 0:17:29 | |
I wouldn't have sold it for £40. | 0:17:29 | 0:17:31 | |
-Really. -It's worth twice that, really. | 0:17:31 | 0:17:33 | |
Yes, yes. | 0:17:33 | 0:17:35 | |
-Harry, it's good to meet up with you again. -Thank you. | 0:17:42 | 0:17:45 | |
You made my day back at the valuation day six weeks ago. | 0:17:45 | 0:17:48 | |
Oh, you did. Harry walked in with this. | 0:17:48 | 0:17:50 | |
Look at this. Here's your shell house. | 0:17:50 | 0:17:52 | |
I just hope someone's prepared to shell out £2 - 300 today. | 0:17:52 | 0:17:57 | |
I'd like to see it do more than that, but you don't know with auctions. | 0:17:57 | 0:18:01 | |
No, you don't. That's true. | 0:18:01 | 0:18:03 | |
What have you been doing in the last few weeks since we saw you. | 0:18:03 | 0:18:06 | |
Just in the garden, growing vegetables. | 0:18:06 | 0:18:09 | |
-Yeah, do you like doing that? -Yes. | 0:18:09 | 0:18:11 | |
Right, this is now the moment of truth. | 0:18:11 | 0:18:16 | |
Lot 325 is next. | 0:18:16 | 0:18:18 | |
The fine, unusual and very rare Victorian model | 0:18:18 | 0:18:21 | |
of a cottage is made entirely of shells. | 0:18:21 | 0:18:23 | |
There in the back corner on the side there, lot 325 and I start at £100. | 0:18:23 | 0:18:29 | |
£100 I have. | 0:18:29 | 0:18:31 | |
At £100 only, wave if I miss you, it's a rarity, this. | 0:18:31 | 0:18:35 | |
at £100 where's 110? | 0:18:35 | 0:18:36 | |
120, 130, | 0:18:36 | 0:18:38 | |
140, 150, 160, | 0:18:38 | 0:18:42 | |
-170, 180... -Come on, we're getting there. | 0:18:42 | 0:18:45 | |
..190, 200, are you sure? | 0:18:45 | 0:18:47 | |
Back with me at £200 now. | 0:18:47 | 0:18:50 | |
At £200 only, 210, 220, | 0:18:50 | 0:18:54 | |
220 now with me at 220. | 0:18:54 | 0:18:58 | |
Are you all done at 220? | 0:18:58 | 0:19:00 | |
-Gone. -That was easy. I'm satisfied. | 0:19:00 | 0:19:03 | |
Yeah. I was expecting a little more but nevertheless | 0:19:03 | 0:19:06 | |
we pitched it at two to three, didn't we? | 0:19:06 | 0:19:08 | |
Yes, we put a reserve on for £200. | 0:19:08 | 0:19:10 | |
-Are you happy now with it? -I'm happy. | 0:19:10 | 0:19:12 | |
-You're gonna say goodbye to it. -That's very nice. | 0:19:12 | 0:19:16 | |
It's got a bit more Sellotape wrapped round it. | 0:19:16 | 0:19:19 | |
I see it. Yes, that's right. | 0:19:19 | 0:19:21 | |
Hey, it's gradually falling apart. | 0:19:21 | 0:19:24 | |
-Harry, it's been a pleasure to meet you. -And you. | 0:19:24 | 0:19:26 | |
-Get back to the garden. Few hundred quid in your pocket. -Yes. | 0:19:26 | 0:19:30 | |
Taking the rostrum for this next lot is auctioneer, Steve Stockton. | 0:19:30 | 0:19:34 | |
-It's good to see you again. -Thank you. | 0:19:34 | 0:19:36 | |
Pair of vases from Stoke-on-Trent. Late 19th century...£50-80. | 0:19:36 | 0:19:40 | |
Early Carlton Ware. | 0:19:40 | 0:19:42 | |
Should do a bit more as pair? | 0:19:42 | 0:19:44 | |
Well, I think that's fairly accurate. | 0:19:44 | 0:19:46 | |
Is it? He's sticking by his guns. | 0:19:46 | 0:19:49 | |
-He's a cheeky chap, really. -Yeah. | 0:19:49 | 0:19:51 | |
You're not giving anything away here. | 0:19:51 | 0:19:53 | |
I sometimes put my neck on the line. | 0:19:53 | 0:19:55 | |
Well, I am, I'm saying it's right. | 0:19:55 | 0:19:58 | |
We have a pair of W&R Florida pattern vases. | 0:19:58 | 0:20:01 | |
Slot 490 and I have two bids on the sheet. | 0:20:01 | 0:20:06 | |
Going to start that £42 do I see 5? | 0:20:06 | 0:20:10 | |
£42 now where's 5? 45, 48, 50, 55, | 0:20:10 | 0:20:14 | |
55 with me, do I see 60? | 0:20:14 | 0:20:17 | |
55 with me on commission, do I see 60? Any advance on £55? | 0:20:17 | 0:20:23 | |
-£55, Stephanie. -That's good. | 0:20:23 | 0:20:26 | |
-That's all right. -You were right. | 0:20:26 | 0:20:28 | |
-Stuck to your guns. -Yeah. | 0:20:28 | 0:20:29 | |
We've got to give you that one, then. | 0:20:29 | 0:20:31 | |
-That's good. -That put a big smile on your face. | 0:20:33 | 0:20:36 | |
You were first in the valuation day, weren't you? You were. Got up really early for that? | 0:20:36 | 0:20:41 | |
It was my sister-in-law that dragged me along because I have to hold my hands up. | 0:20:41 | 0:20:45 | |
Never seen the program. | 0:20:45 | 0:20:47 | |
But she dragged me along because of you, I think. | 0:20:47 | 0:20:50 | |
I wasn't quite sure why when I got there... | 0:20:50 | 0:20:52 | |
..she's just got back from Egypt and she's not well, so couldn't make it. | 0:20:54 | 0:20:58 | |
-Well, send her my love. -I will, I will. Yes, OK. | 0:20:58 | 0:21:00 | |
-Thank you so much for coming in. -Thank you. | 0:21:00 | 0:21:03 | |
You can send her home with one of these. | 0:21:03 | 0:21:05 | |
-I carry it with me to remind me of him, but you can have it. -Thank you. | 0:21:05 | 0:21:08 | |
Could he sign it at the back. | 0:21:08 | 0:21:10 | |
Just to her, not me. | 0:21:10 | 0:21:12 | |
Now imagine living in a beautiful old house | 0:21:23 | 0:21:25 | |
in the countryside just like this one. | 0:21:25 | 0:21:28 | |
A dream come true for most of us. | 0:21:28 | 0:21:30 | |
But what happens when things start to go wrong with it? | 0:21:30 | 0:21:34 | |
For Paula Sunshine, a problem with her house turned into a real mission in life, believe me. | 0:21:34 | 0:21:40 | |
And it also unearthed some hidden passions. | 0:21:40 | 0:21:44 | |
Eleven years ago, Paula and her husband bought this five hundred year old timber-framed house. | 0:21:47 | 0:21:53 | |
Soon after, they found it had terrible damp problem, | 0:21:53 | 0:21:57 | |
but they could find nobody to help them sort it out, | 0:21:57 | 0:21:59 | |
so Paula literally took matters into her own hands | 0:21:59 | 0:22:03 | |
and has spent the last decade sorting out its problems | 0:22:03 | 0:22:06 | |
and returning this house to its former glory. | 0:22:06 | 0:22:09 | |
And I'm here to find out how she set about doing it. | 0:22:09 | 0:22:13 | |
Paula learnt many traditional skills from bricklaying to lime plastering, | 0:22:15 | 0:22:20 | |
but the one I'm here to find out about is wattle and daub, an age old form of wall panelling | 0:22:20 | 0:22:25 | |
which, in Paula's house, had been destroyed by damp. | 0:22:25 | 0:22:28 | |
Paula, I love what you've done to the house. It's absolutely stunning. | 0:22:28 | 0:22:32 | |
You've got that whole theme running throughout as well. Love the decor. | 0:22:32 | 0:22:36 | |
We talk about wattle and daub. Look at these uprights. | 0:22:36 | 0:22:40 | |
These would have been in-filled. | 0:22:40 | 0:22:41 | |
Yes. In fact, you can still see the ledges here, but these | 0:22:41 | 0:22:44 | |
ledges are missing their wattles, which are the upright ones. | 0:22:44 | 0:22:48 | |
-Which would be, what, local willow? -Hazel. Hazel rods. | 0:22:48 | 0:22:52 | |
Hazel material. | 0:22:52 | 0:22:53 | |
-Tied on. -And then you plaster on top of that with your render? | 0:22:53 | 0:22:57 | |
You'll do one side and then you come round and daub the other one. | 0:22:57 | 0:23:03 | |
Wattle and daub panels do perform a function. | 0:23:03 | 0:23:06 | |
They're lungs of the building, so when you get rain water entering into render cracks, | 0:23:06 | 0:23:11 | |
which everybody does, they may not know about it, | 0:23:11 | 0:23:13 | |
but it's happening inside the walls, | 0:23:13 | 0:23:17 | |
that soaks into the wattle and daub and then evaporates through the panel. | 0:23:17 | 0:23:20 | |
And it's all very invisible. | 0:23:20 | 0:23:22 | |
You don't see it happening, but it allows that moisture to dissipate and dry out. | 0:23:22 | 0:23:27 | |
-And can we have a go at that? -You can. | 0:23:27 | 0:23:30 | |
-Now? -Shall we? | 0:23:30 | 0:23:33 | |
Right, Paula. I guess the main ingredient is the clay. | 0:23:41 | 0:23:44 | |
Where do you get this from? | 0:23:44 | 0:23:46 | |
-Usually, the local farmer. I try and get it as local as possible, because that. -Transporting it, yes. | 0:23:46 | 0:23:51 | |
Also that's what they would have done originally. | 0:23:51 | 0:23:54 | |
All the ponds that you see next to old buildings, tend to have been | 0:23:54 | 0:23:58 | |
made by the extraction of the clay to do the wattle and daub. | 0:23:58 | 0:24:01 | |
That'll do. | 0:24:04 | 0:24:06 | |
-And you tread that in? -That's right. | 0:24:06 | 0:24:09 | |
Jump in, squash it down. | 0:24:09 | 0:24:11 | |
It's quite therapeutic isn't it, really? | 0:24:12 | 0:24:15 | |
It is quite satisfying. | 0:24:15 | 0:24:17 | |
It's quite interesting, these days, | 0:24:17 | 0:24:19 | |
to find a material that is so simple | 0:24:19 | 0:24:22 | |
-and can actually be used to build houses with. -Yes. | 0:24:22 | 0:24:25 | |
Then we add some of this straw. | 0:24:27 | 0:24:28 | |
What will the straw do to this? Help it bind together? | 0:24:29 | 0:24:33 | |
Yes, it actually bulks up the mix, | 0:24:33 | 0:24:35 | |
better insulation and also stops it from breaking up as it dries. | 0:24:35 | 0:24:40 | |
So you put the straw in like that, and tread it in. | 0:24:40 | 0:24:44 | |
-Keeps you fit, doesn't it? -It does. | 0:24:47 | 0:24:49 | |
Bit more water. | 0:24:51 | 0:24:52 | |
Bit more water, make it really sloppy. | 0:24:52 | 0:24:54 | |
That's it. | 0:24:54 | 0:24:55 | |
So just explain the two differences - the wattle and the daub. | 0:24:55 | 0:24:59 | |
The wattle is the bit, the hazel bit, | 0:24:59 | 0:25:03 | |
or you can have oak and the daub is what I'm standing in. | 0:25:03 | 0:25:06 | |
-The magical mix. -You've got to turn over now. | 0:25:06 | 0:25:09 | |
-Are you ready for this. -Which is the clay and straw and water. -Yes. | 0:25:09 | 0:25:13 | |
I teach homeowners and I sometimes go on site and teach builders. | 0:25:13 | 0:25:16 | |
Passing on this kind of information is so important, it really is. | 0:25:16 | 0:25:20 | |
It's a very expensive thing to have done. | 0:25:20 | 0:25:23 | |
-It's labour intensive. -Very. | 0:25:23 | 0:25:25 | |
I mean, you can see I can only do... | 0:25:25 | 0:25:28 | |
to make up the daub and to wattle up a panel, | 0:25:28 | 0:25:30 | |
about my height and size it takes a day. | 0:25:30 | 0:25:34 | |
So it would be very expensive to have 100 panels in your house repaired. | 0:25:34 | 0:25:39 | |
So people tend to say, "I'll go and learn how to do it." | 0:25:39 | 0:25:42 | |
One more bit of treading then. | 0:25:42 | 0:25:44 | |
Yes. | 0:25:44 | 0:25:47 | |
-I hear you've got a nice gooey mix there now. -All right. | 0:25:47 | 0:25:50 | |
I think... | 0:25:50 | 0:25:52 | |
You give that a turn and it's ready to use. | 0:25:52 | 0:25:55 | |
That's it. | 0:25:59 | 0:26:00 | |
Put it in the wheelbarrow and we'll get daubing. | 0:26:01 | 0:26:04 | |
-Heavy. -Yes, it is, isn't it? | 0:26:04 | 0:26:08 | |
-Waste not want not. -Ah. | 0:26:08 | 0:26:10 | |
Every bit is precious. | 0:26:10 | 0:26:12 | |
OK. | 0:26:14 | 0:26:15 | |
-We've got two panels here. -We have. -They look a bit different. | 0:26:23 | 0:26:27 | |
That is what you were explaining inside? | 0:26:27 | 0:26:29 | |
That's right. And that method's peculiar to East Anglia, | 0:26:29 | 0:26:32 | |
whereas down the south of the country | 0:26:32 | 0:26:36 | |
you get this sort of woven panel. | 0:26:36 | 0:26:39 | |
Mainly, because they have very wide panels | 0:26:39 | 0:26:41 | |
and once they go over a certain width you can't really | 0:26:41 | 0:26:44 | |
do this tied method because it becomes too flexible | 0:26:44 | 0:26:48 | |
whereas the woven method is much more rigid. | 0:26:48 | 0:26:50 | |
When you're doing a woven panel, it has to be green hazel, that is, | 0:26:50 | 0:26:53 | |
it's cut and then used fresh, whereas with these they can be as old as the hills, really. | 0:26:53 | 0:26:58 | |
I've even used really ancient hazel. | 0:26:58 | 0:27:00 | |
-Is that because as they start to dry out they get rigid, they're not pliable. -Yes. | 0:27:00 | 0:27:05 | |
You need to be able to bend them. | 0:27:05 | 0:27:06 | |
Well, I'm feeling quite pliable. We're now going to | 0:27:06 | 0:27:10 | |
put some plaster... put our daub on, should I say. | 0:27:10 | 0:27:14 | |
And your rubber gloves. | 0:27:14 | 0:27:15 | |
Which I've got in my pocket. Right, here we go. | 0:27:15 | 0:27:18 | |
OK. So, you've literally got to put it in by hand | 0:27:18 | 0:27:23 | |
-and you just force it in. -Yes. | 0:27:23 | 0:27:25 | |
There's no way you could pick that out with a trowel and plaster it on. | 0:27:25 | 0:27:29 | |
If you get children to do it, they roll it up into balls and throw it from quite a distance. | 0:27:29 | 0:27:34 | |
-And it sticks like hell on there. -Effective Yeah. | 0:27:34 | 0:27:37 | |
I can start anywhere really? | 0:27:37 | 0:27:39 | |
Anywhere you like. | 0:27:39 | 0:27:41 | |
It's jolly good fun, actually. | 0:27:41 | 0:27:42 | |
Oh, this is serious stuff, but it does feel really childish. | 0:27:44 | 0:27:49 | |
-That doesn't look too bad now, Paula, does it? -No, it's very good. | 0:28:03 | 0:28:06 | |
How long will it take you to finish your house? | 0:28:06 | 0:28:10 | |
Well, I'm 44 now and I'm hoping by the time I'm 50 | 0:28:10 | 0:28:14 | |
I will have done it. | 0:28:14 | 0:28:16 | |
Put your feet up and take it easy. | 0:28:16 | 0:28:18 | |
You've preserved something for future generations to see. | 0:28:18 | 0:28:22 | |
-That's what it's all about. -It is. | 0:28:22 | 0:28:24 | |
I thoroughly enjoyed myself here. You know that? | 0:28:24 | 0:28:27 | |
I'm proud of this. I really am. | 0:28:27 | 0:28:30 | |
-You deserve a cup of tea. -My mud wall. | 0:28:30 | 0:28:32 | |
Fantastic. Unfortunately, I've got to get back to my day job | 0:28:32 | 0:28:36 | |
and get back to the valuation day and see what's turning up. | 0:28:36 | 0:28:39 | |
So better wash up. | 0:28:39 | 0:28:42 | |
-Thanks so much, again. -Right. Pleasure. | 0:28:42 | 0:28:45 | |
Pat, this is an intriguing collection of memories. | 0:28:58 | 0:29:02 | |
Of stars, of sports and theatre. | 0:29:02 | 0:29:05 | |
How did you come by them? | 0:29:05 | 0:29:07 | |
Well, my father collected some for me. | 0:29:07 | 0:29:11 | |
He knew quite a lot of theatricals and I met quite a few. | 0:29:11 | 0:29:14 | |
Right. So where...what did your father do? Was he in the theatre? | 0:29:14 | 0:29:18 | |
No. He was a chemist and an optician in Blackpool in the Emporium. | 0:29:18 | 0:29:25 | |
He used to get a lot of the ladies come in and say, | 0:29:25 | 0:29:28 | |
"Freddie, darling, have you got anything for me this week?" | 0:29:28 | 0:29:31 | |
It was during the war and rationing. | 0:29:31 | 0:29:33 | |
Make-up was short, yes. | 0:29:33 | 0:29:35 | |
-Right. -He knew so many. | 0:29:35 | 0:29:37 | |
-Hence, all these autographs. -Yes. | 0:29:37 | 0:29:39 | |
This is a wonderful collection. Absolutely marvellous collection. | 0:29:39 | 0:29:43 | |
I've quickly gone through it and put some little markers in. | 0:29:43 | 0:29:46 | |
The first one that I love is Freddie Mills, the boxer. | 0:29:46 | 0:29:49 | |
-Yes. -And he's got RAF. Did he box for the RAF? | 0:29:49 | 0:29:52 | |
-Yes, I think he did. -And he was in the RAF, wasn't he? -Yes. | 0:29:52 | 0:29:56 | |
So this was probably taken when he was... | 0:29:56 | 0:29:58 | |
-Before he became one of the champions. -Exactly. | 0:29:58 | 0:30:01 | |
Then, this I find fascinating. | 0:30:01 | 0:30:05 | |
Because here are two characters with table tennis bats. | 0:30:05 | 0:30:09 | |
-What do you know about these? -Alec Brooks and Victor Barna. | 0:30:09 | 0:30:13 | |
Victor Barna was a lovely man. | 0:30:13 | 0:30:15 | |
He was Hungarian and he was eighteen times world champion table tennis. | 0:30:15 | 0:30:21 | |
And the one I love because I used to go ballroom dancing, is Joe Loss. | 0:30:21 | 0:30:25 | |
-Yes, he was brilliant. -He was good, wasn't he? | 0:30:25 | 0:30:28 | |
There we have a much younger version of Joe Loss and this is his orchestra. | 0:30:28 | 0:30:32 | |
-Look, it says, "In The Mood." -Oh. | 0:30:32 | 0:30:36 | |
-That was his opening tune, wasn't it? -I've got the record. -Have you? | 0:30:36 | 0:30:39 | |
-Have you really? -Yes. | 0:30:39 | 0:30:42 | |
And then here, must be your pride of place, | 0:30:42 | 0:30:46 | |
Bing Crosby and he's just signed it, "Sincerely, Bing." | 0:30:46 | 0:30:51 | |
-Yes. -Where did you get this? | 0:30:51 | 0:30:53 | |
Friends got me that one. | 0:30:53 | 0:30:54 | |
Bing Crosby came over to entertain the American forces. | 0:30:54 | 0:30:59 | |
-Because you must have been young when you got these. -I was still at school. | 0:30:59 | 0:31:03 | |
You've got a lovely collection. | 0:31:03 | 0:31:05 | |
We've got to talk in mercenary terms about money. | 0:31:07 | 0:31:10 | |
Why do you want to get rid of these? | 0:31:10 | 0:31:12 | |
It doesn't mean anything to my children, it's before their time | 0:31:12 | 0:31:17 | |
and I thought somebody else could get pleasure from it. | 0:31:17 | 0:31:21 | |
There are so many albums. Not repeated exactly the same with all these artists. | 0:31:21 | 0:31:26 | |
You've got a nice selection, | 0:31:26 | 0:31:28 | |
but I wouldn't put this more than £80 to £100, that price range. | 0:31:28 | 0:31:31 | |
-Fine. -So we'll put it up for sale? | 0:31:31 | 0:31:34 | |
-Yes, please. -All these memories. -I know. | 0:31:34 | 0:31:36 | |
I can't take them with me when I go, can I? | 0:31:36 | 0:31:38 | |
But you can spend the money! | 0:31:38 | 0:31:40 | |
Thank you very much. It's been so enjoyable talking to you | 0:31:43 | 0:31:45 | |
and reliving the experiences that you've had. | 0:31:45 | 0:31:49 | |
-Thank you very much. -Do you go to the auction? | 0:31:49 | 0:31:51 | |
-Yes. -Oh, well, I have an autograph, a photograph of you. -Thank you very much. | 0:31:51 | 0:31:56 | |
-Cathy. -Hello there. -Nice hat. | 0:32:05 | 0:32:06 | |
-Thank you. -Welcome to Flog It! -Thank you. | 0:32:06 | 0:32:09 | |
Why would you like to sell a beautiful object like that? | 0:32:09 | 0:32:13 | |
With central heating instead of live fires, | 0:32:13 | 0:32:16 | |
and it's not doing it any good, | 0:32:16 | 0:32:17 | |
so it's been in our pantry for the last three years. | 0:32:17 | 0:32:20 | |
There's a good reason - living in a pantry. | 0:32:20 | 0:32:22 | |
Where did you get it from? | 0:32:22 | 0:32:24 | |
It came to my mum from a great aunt about 20 years ago | 0:32:24 | 0:32:29 | |
and I know it's beautiful, | 0:32:29 | 0:32:31 | |
but it just sat on the sideboard for a lot of years. | 0:32:31 | 0:32:35 | |
It's a very nice example, a good, large size early to mid-19th century tea caddy. | 0:32:35 | 0:32:42 | |
In rosewood, edged in boxwood and cross banded along the top in rosewood as well. | 0:32:42 | 0:32:48 | |
Beautiful object with these gilt metal claw feet on it and of course, | 0:32:48 | 0:32:55 | |
for tea, so you'll see the two divisions there, | 0:32:55 | 0:33:02 | |
you'd have had green tea one side, black tea the other. | 0:33:02 | 0:33:05 | |
And a sugar bowl in the middle. | 0:33:05 | 0:33:09 | |
But this is the wrong sugar bowl. | 0:33:09 | 0:33:11 | |
This is from your local Chinese takeaway, or... | 0:33:11 | 0:33:15 | |
Well, it came with the box. | 0:33:15 | 0:33:17 | |
It sits in there, so why not, | 0:33:17 | 0:33:18 | |
but it shows where the glass bowl originally would have been. | 0:33:18 | 0:33:23 | |
So very nice object indeed. | 0:33:23 | 0:33:25 | |
A lot of collectors for tea caddies nowadays | 0:33:25 | 0:33:28 | |
and this is a good, large example of that sarcophagus form. | 0:33:28 | 0:33:31 | |
A bit of a funereal look to it almost, isn't it? Casket. | 0:33:31 | 0:33:34 | |
I like the way it goes up rather than... | 0:33:34 | 0:33:38 | |
-A very pleasing object to the eye, isn't it? -Yes. | 0:33:38 | 0:33:42 | |
-Any idea what it might be worth? -No idea. | 0:33:42 | 0:33:44 | |
We sell quite a lot of these, so they're not hard to value, | 0:33:44 | 0:33:47 | |
but I would think it should make 120 to 180 at auction | 0:33:47 | 0:33:51 | |
and hopefully a bit more, that's probably slightly conservative. | 0:33:51 | 0:33:57 | |
If we put a reserve of 100, if it doesn't make 100, it should go home. | 0:33:57 | 0:34:00 | |
-I'll pop it back in the pantry. -If it doesn't make 100. | 0:34:00 | 0:34:04 | |
But it is a lovely example. | 0:34:04 | 0:34:05 | |
Would you put the money towards anything in particular? | 0:34:05 | 0:34:08 | |
Um, probably just take Dad out for a meal. | 0:34:08 | 0:34:12 | |
-Not another hat, then? -No, no, I've got quite enough. | 0:34:12 | 0:34:15 | |
Rosemary, lovely to see you again after...how many years? | 0:34:25 | 0:34:28 | |
Oh, it must be about 40 years since we first knew each other. | 0:34:28 | 0:34:32 | |
Because we used to go to the same youth club. | 0:34:32 | 0:34:35 | |
-Yes. -Great fun in those days. | 0:34:35 | 0:34:37 | |
-We had a lovely time, -Absolutely wonderful. | 0:34:37 | 0:34:39 | |
And the parties, the parties at my parent's house. | 0:34:39 | 0:34:42 | |
Yes. It was all so enjoyable. It seems like an alien world. | 0:34:42 | 0:34:47 | |
-When you look at today, yeah. -Dear oh, dear. | 0:34:47 | 0:34:49 | |
Why are you getting rid of these? | 0:34:51 | 0:34:53 | |
They're my husband's. | 0:34:53 | 0:34:56 | |
They belonged to my mother-in-law who died and she wanted him to have them | 0:34:56 | 0:35:00 | |
but he doesn't like them and nobody else in the family likes them, | 0:35:00 | 0:35:03 | |
so I thought I'd come along and see. | 0:35:03 | 0:35:05 | |
-Surely they have sentimental value. -He says not. | 0:35:05 | 0:35:08 | |
I used to collect Staffordshire when I was young. | 0:35:08 | 0:35:11 | |
I had a huge collection and I've told people many times | 0:35:11 | 0:35:15 | |
-about how they lasted about three months when I got married. -Yes. | 0:35:15 | 0:35:19 | |
I like these because they're fairly late-nineteenth century. | 0:35:19 | 0:35:23 | |
-Yes. -But I like them because of their sponged work. | 0:35:23 | 0:35:26 | |
So if you look at Judy, because they're Punch and Judy, this one here. | 0:35:26 | 0:35:29 | |
They have all this stencilled and sponged decoration all the way around the hat | 0:35:29 | 0:35:35 | |
and on her dress which is quite good. | 0:35:35 | 0:35:37 | |
And when we look at Mr Punch, we've got sponge decoration on his hat. | 0:35:37 | 0:35:42 | |
-It is so unusual to find them with their original bonnet and hat. -Really? | 0:35:42 | 0:35:46 | |
Yeah. So this is quite nice. | 0:35:46 | 0:35:48 | |
I notice that Mr Punch has had the comb on his hat | 0:35:48 | 0:35:52 | |
has been off but it's glued back and it's an old repair. | 0:35:52 | 0:35:55 | |
I don't mind that. I don't mind that. | 0:35:55 | 0:35:57 | |
-It's all part of his character. -Well, yes. | 0:35:57 | 0:36:00 | |
I have seen these before. | 0:36:00 | 0:36:01 | |
Because Staffordshire market, it's not gone in decline, | 0:36:01 | 0:36:05 | |
but it's not in demand as it was a few years ago, | 0:36:05 | 0:36:08 | |
or when I started collecting forty years ago. | 0:36:08 | 0:36:10 | |
-Forty...a long time ago, yes. -A long time ago. | 0:36:10 | 0:36:13 | |
Um, so I think if I look at these and put a value on them, | 0:36:13 | 0:36:16 | |
-I'm going to say about £60 to £80. -Right, yes. | 0:36:16 | 0:36:19 | |
If we put these up for sale ten years ago, you'd have got treble that. | 0:36:19 | 0:36:24 | |
Just shows the fluctuation of fashion and demand. | 0:36:24 | 0:36:27 | |
But that's just it, isn't it? | 0:36:27 | 0:36:28 | |
We've moved house and we have nowhere at all to put them | 0:36:28 | 0:36:33 | |
they're on top of the wardrobe so this is a good opportunity... | 0:36:33 | 0:36:36 | |
-Well, I think Punch and Judy deserve a better place than the top of the wardrobe. -They do, don't they? Yes. | 0:36:36 | 0:36:41 | |
-Perhaps some cottage in this area and they'd look very good on a dresser. -Yes. | 0:36:41 | 0:36:46 | |
Let's hope when we go to Diss, | 0:36:46 | 0:36:47 | |
that somebody's going to be there that appreciates what we've got in front of us. | 0:36:47 | 0:36:51 | |
-Thank you. -Rosemary, lovely seeing you. | 0:36:51 | 0:36:54 | |
-Nice to see you again. -Thank you very much. | 0:36:54 | 0:36:57 | |
Another three valuations under our belt. | 0:37:00 | 0:37:03 | |
So here are three lots heading off to auction. | 0:37:03 | 0:37:06 | |
Although Patricia's autograph book holds many fond memories for her, | 0:37:06 | 0:37:10 | |
she's ready to let it go. | 0:37:10 | 0:37:12 | |
Unless you're a collector, what do you do with a tea caddy? | 0:37:12 | 0:37:15 | |
Let's hope someone in the sale room has a bright idea. | 0:37:15 | 0:37:18 | |
And the problem with inheriting antiques is that they're not always to our taste, | 0:37:18 | 0:37:22 | |
so the best thing for Rosemary to do with her Toby jugs is to flog them. | 0:37:22 | 0:37:26 | |
Next up, Patricia's autograph book. | 0:37:30 | 0:37:32 | |
We had a chat to the auctioneer just before the sale started and we think it's a good trade lot. | 0:37:32 | 0:37:37 | |
-It might get bought to be split up. -I think so. | 0:37:37 | 0:37:40 | |
The value's in a few of the autographs and photographs and less in some. | 0:37:40 | 0:37:45 | |
-There are two records now which were brought in this morning? -Oh. | 0:37:45 | 0:37:48 | |
-Bing Crosby to go with his autograph and I brought Joe Loss In the Mood. -In the Mood. | 0:37:48 | 0:37:55 | |
Let's hope this lot in Diss are certainly in the mood to buy this. | 0:37:55 | 0:38:00 | |
Good luck, both of you. | 0:38:00 | 0:38:02 | |
And to lot 370. | 0:38:02 | 0:38:03 | |
A fabulous lot, this. An autograph book containing a signed black | 0:38:03 | 0:38:07 | |
and white photographs with two 78 records by Bing Crosby | 0:38:07 | 0:38:10 | |
and Joe Loss. So an interesting mixed lot there. | 0:38:10 | 0:38:13 | |
Some very good names and I'm going to start, | 0:38:13 | 0:38:15 | |
I've got commission interest at £55. | 0:38:15 | 0:38:18 | |
55 is a good start. | 0:38:18 | 0:38:20 | |
£55 now, where's 60? 60, 65, 70, 75, 80 I'm at. 80 now where's 5? | 0:38:20 | 0:38:28 | |
85 on the telephone, £90, 95. | 0:38:28 | 0:38:33 | |
95 now on the telephone, 95 on the telephone, do I see 100? | 0:38:33 | 0:38:37 | |
It's £95. I can sell for 95. | 0:38:37 | 0:38:41 | |
A fine collection at £95. | 0:38:41 | 0:38:43 | |
Yes, the hammer's gone down. £95. | 0:38:43 | 0:38:47 | |
-Lots of memories there. -Yes, I know. | 0:38:47 | 0:38:49 | |
I was only a teenager. | 0:38:49 | 0:38:54 | |
Admiring all the big stars. | 0:38:54 | 0:38:55 | |
-Blackpool must have been in its heyday back then. -It was lovely. | 0:38:55 | 0:38:58 | |
Mind you, it was during the war and there were loads of airmen. | 0:38:58 | 0:39:02 | |
All wanted to have a good time. | 0:39:02 | 0:39:04 | |
Yeah. I used to dance with them. | 0:39:04 | 0:39:06 | |
See, that was my war work I was still at school, | 0:39:06 | 0:39:09 | |
but that was my war work, entertainment and dancing. | 0:39:09 | 0:39:13 | |
Thank you for sharing those memories with us. | 0:39:13 | 0:39:16 | |
And 95 quid. Well, that will get you up to Blackpool | 0:39:16 | 0:39:20 | |
to have a day trip out, wouldn't it really? | 0:39:20 | 0:39:22 | |
Pay for the petrol, wouldn't it? | 0:39:22 | 0:39:25 | |
Elizabeth is now back to auction off our final couple of lots. | 0:39:26 | 0:39:30 | |
Next up, Cathy's tea caddy. We've got the tea caddy, Cathy can't be with us, | 0:39:32 | 0:39:38 | |
but we do have her dad, Howie, who's also wearing a very interesting hat. | 0:39:38 | 0:39:41 | |
We thought you might be Cathy's dad. | 0:39:41 | 0:39:43 | |
Everybody know me in the area. | 0:39:43 | 0:39:46 | |
-So where is Cathy today? -She's still at work. | 0:39:46 | 0:39:49 | |
She's looking after an elderly woman. | 0:39:49 | 0:39:52 | |
-She's just a live-in carer. -OK. | 0:39:52 | 0:39:55 | |
And she goes from site to site all over the place, all over Britain, more or less. | 0:39:55 | 0:40:00 | |
-Oh, right. -We'll be in Oxford next. -Gosh. | 0:40:00 | 0:40:03 | |
Oh, nice rewarding work, anyway. | 0:40:03 | 0:40:05 | |
Send her our regards and hopefully we can send her lots of money after the show. | 0:40:05 | 0:40:08 | |
-Be nice. -We're looking at £120, £180 for this tea caddy. Bit of quality. | 0:40:08 | 0:40:13 | |
-You know your wood. What do you say.? -I like it. | 0:40:13 | 0:40:15 | |
-Will it sell? -Yes. It will. | 0:40:15 | 0:40:17 | |
Lot 150 is a 19th century rosewood tea caddy of sarcophagus form, there. | 0:40:17 | 0:40:22 | |
As on this one here, I start at £55. That's a lovely period piece. | 0:40:22 | 0:40:26 | |
60, 5, 70, 5, 80, 5, 85 with me, | 0:40:26 | 0:40:31 | |
at 85, 90, 5, 100 and I'm out. | 0:40:31 | 0:40:34 | |
100 now the front bid at 100, I'll take 10. | 0:40:34 | 0:40:37 | |
£100, am I missing anybody at £100? | 0:40:37 | 0:40:41 | |
It's gone. We had a reserve of £100. | 0:40:41 | 0:40:44 | |
That saves me carting it home. | 0:40:44 | 0:40:45 | |
That saves you carting it home. It's only that big. | 0:40:45 | 0:40:48 | |
-Someone got that quite cheaply. -Mmm. Nice box. | 0:40:50 | 0:40:53 | |
At least we had a reserve on it. Otherwise who knows? | 0:40:53 | 0:40:55 | |
Yeah. That's auctions for you. | 0:40:55 | 0:40:57 | |
Sometimes you can pick up a bargain. | 0:40:57 | 0:41:00 | |
Now we're going to find out if that's the way to do it, as we reunite two old... | 0:41:04 | 0:41:10 | |
CARTOON VOICE: That's the way to do it. | 0:41:10 | 0:41:13 | |
As we reunite two old friends, | 0:41:13 | 0:41:15 | |
Rosemary and David, because you go back a long way, don't you? | 0:41:15 | 0:41:18 | |
Oh, yes. Don't tell how many years. | 0:41:18 | 0:41:20 | |
I won't tell. | 0:41:20 | 0:41:22 | |
School chums. Anyhow, we've got Punch and Judy, haven't we? | 0:41:22 | 0:41:25 | |
Two Toby jugs, valuation round about £50 we're hoping for. | 0:41:25 | 0:41:30 | |
Yeah, yeah. Staffordshire's taken a plunge, | 0:41:30 | 0:41:33 | |
but these are good mantelpiece ornaments or dresser ornamentations. | 0:41:33 | 0:41:39 | |
Hopefully, they're different. | 0:41:39 | 0:41:40 | |
A bit of country furniture. | 0:41:40 | 0:41:42 | |
We've got that going for it and we've also got the fact | 0:41:42 | 0:41:46 | |
-that they are a Punch and Judy so there's lots of takers for that out there. -That's right. | 0:41:46 | 0:41:50 | |
So good luck, both of you. | 0:41:50 | 0:41:51 | |
I know you've had a good natter. | 0:41:51 | 0:41:53 | |
It just seems like yesterday, that's the beauty of old friends isn't it, really? | 0:41:53 | 0:41:57 | |
What was he like as a youngster? | 0:41:57 | 0:41:59 | |
I don't think he's changed very much at all. | 0:41:59 | 0:42:02 | |
Any scandal? | 0:42:05 | 0:42:07 | |
-Not that I can think of. -I thought you | 0:42:07 | 0:42:10 | |
were going to say, "Not that I can mention." | 0:42:10 | 0:42:12 | |
We'll leave that then. It's going under the hammer now. | 0:42:12 | 0:42:15 | |
This is it. Good luck, Rosemary. | 0:42:15 | 0:42:17 | |
Lot 110 now, the pair of late 19th century Toby jugs of Punch and Judy. | 0:42:17 | 0:42:23 | |
I say £50 on the pair. | 0:42:23 | 0:42:25 | |
It's good to find them still together at 50. | 0:42:25 | 0:42:27 | |
-That's true. -30 I'll take. | 0:42:27 | 0:42:30 | |
30's bid, thank you. 30 I have. | 0:42:30 | 0:42:33 | |
30, 32, 35, 38, 40, 2, 45, 48, 50. | 0:42:33 | 0:42:40 | |
50 at the corner, 50 I'll take 5, 55 new bidder, 60, 5, 70. | 0:42:40 | 0:42:46 | |
Oh, this is more like it. | 0:42:46 | 0:42:47 | |
-Oh, this is, yeah. -70 still the corner at 70 now, where's 5 again? | 0:42:47 | 0:42:51 | |
At £70 on Punch and Judy at £70, all done? | 0:42:51 | 0:42:56 | |
-£70. -Oh, great. -Brilliant, brilliant. | 0:42:57 | 0:43:00 | |
-That's fantastic. -I'm really pleased. | 0:43:00 | 0:43:02 | |
That's well over the estimate. | 0:43:02 | 0:43:04 | |
-Thank you, David. -By ten pounds. | 0:43:04 | 0:43:07 | |
Well, I think you can carry on having your chat and have a cup of coffee or something. | 0:43:11 | 0:43:15 | |
That's a good idea. Come on. | 0:43:15 | 0:43:17 | |
School friends. | 0:43:17 | 0:43:19 | |
Well, another auction over, and sadly no high flyers, but plenty of satisfied sellers. | 0:43:23 | 0:43:29 | |
I've got to say our experts really did have their work cut out. | 0:43:29 | 0:43:32 | |
It's been a pleasure here in Diss | 0:43:32 | 0:43:34 | |
and we all can't wait to come back, so till the next time, it's cheerio from Flog It! | 0:43:34 | 0:43:39 | |
For more information about Flog It!, including how the programme was made, | 0:43:46 | 0:43:50 | |
visit the website at bbc.co.uk. | 0:43:50 | 0:43:53 | |
Subtitles by Red Bee Media Ltd | 0:43:54 | 0:43:57 | |
E-mail [email protected] | 0:43:57 | 0:44:00 |